In so many ways, and across so many levels, Yoko Kanno has always been ahead of her time. The Japanese composer responsible for prophesizing anime contemporary classics such as "Terror in Resonance," "Ghost in the Shell: Stand Alone Complex," "Space Dandy," "Wolf’s Rain" and "Cowboy Bebop."

Forces of nature

Yoko Kanno has a deep connection with her surroundings which she draws on for the creation of her music scores. "Many Japanese people, including myself, feel something sacred in nature, worshipping mountains, waterfalls and large trees, and finding divinity in the wind and sea," she explained. "When I was a child, I was inspired to compose music by seeing familiar scenery such as the vast and beautiful ocean, the budding life of spring, the dying autumn, and the never-ending rain."

Kanno’s works reflect a fascination with the force that controls nature, a god or spirit perhaps. "Even when creating songs for anime and other worlds that don't actually exist, I always use my five senses," she told me later. The composer explained that her inspiration to create music comes from her imagination of "the humidity and temperature of the place, the wind, the smells emitted by the characters..."

Working with Shinichiro Watanabe

Unless you’ve spent the past three decades wondering in the actual Wild West, you will have heard of – if not already become addicted to – "Cowboy Bebop," a Japanese neo-noir space Western anime about a group of bounty hunters who roam across the galaxy capturing criminals and collecting rewards. One of the most talked-about points of the show is its soundtrack, which features significant doses of folk, big-band swing, country, and of course, bebop.

The opening theme of the "Cowboy Bebop" is undeniably one of the most iconic intros in anime including arguably one of the reasons why the anime show became such a memorable series after it aired in 1998. From opening bursts of trumpet to frenetic cymbals, "Tank!" moves immaculately over monochromatic portraits of the main characters in silhouette, a veritable connection that shocks and inspires in equal measures spiking the audience’s energy and interest to see what is in store for the subsequent 22 minutes of the show.

Regarding Cowboy Bebop Yoko Kanno references how she selected the music. "My favorite songs change depending on my mood and the social atmosphere, so it's difficult to choose just one," she explained. "If my music leaves an impression beyond the work itself, I think it's because the director (Shinichiro Watanabe) believes in the power of music and uses my songs effectively and with care. This is because he loves music and brought out its full potential.'"

Kanno’s music is multimodal and fits the genre of a timeless classic. "As I am writing this, it has been decided that the song "Blue" will be used for an advert this year, so I am making a new arrangement for it. I'm happy that the message from 25 years ago is relevant today, and reflecting on it now, I'm glad I made 'Blue.'"

Cathartic, enlightening

Drawing on her experience in the West, Kanno is helping nurture a new generation of musicians and audiences. "In Japan, people tend to be humble about their own abilities and even if they do something well, they often say 'it's not good enough'," she explained.

The composer also touches on barriers to creativity, the power of the music and the need to communicate its progress. "When I was in England and played a tape that was recorded in Japan, the sound seemed denser for some reason," Kanno says. "In Iceland, unlike Japan, it's difficult to get new equipment all the time, so they repair old equipment and use it with care. I feel that this is connected to Iceland's unique sound."

Inspired by her heart-rendering experiences outside Japan, Kanno believes in music's ability power to change lives and transcend boundaries. "Once when recording in Brazil, the singer's mother passed away on the day of the recording, but the singer still came to the studio to sing. The other musicians were comforting her, and someone started banging on the table, and then everyone started joining the rhythm," she explained. "It all occurred so naturally. As I listened to it, I was amazed that you can express your emotions not just through melody and harmony, but through rhythm as well."

In Middle East

Although the composer has not yet traveled to the Middle East, the region has a profound influence on her music. "Up until now, I felt a little uneasy because I couldn't fully understand the people of the Middle East, perhaps because of differences in religious views and language. However, I happened to have the opportunity to study Islam, and I have become very interested," Kanno reflected.

She continued: "I recently read in a book that music was banned in Saudi Arabia. Music, like alcohol, intoxicates people. Musical weapons appear in the anime I worked on in "Macross Plus." At that time, I was serious about creating "music as a weapon," but later, when the audience heard it, someone told me, "For some reason, when I hear this song, it makes me want to die." Until then, I was unaware of the power of music. I changed my attitude when I realized that I could be intoxicating people in the wrong direction. I'm surprised that people in Saudi Arabia have long been aware of the magical power that music has to intoxicate people."

Like those playing poker in the "Bebop," Kanno is keeping her cards close to her chest. "There are many things that cannot be understood from images alone, such as the intensity of light, the density of shadows, the speed of time, and the tempo of people's speaking. If I have a chance, I would definitely like to visit countries I have never visited before, such as Türkiye, Georgia, Lebanon, Saudi Arabia and Pakistan."

So, if you’ve got a soft spot for "Cowboy Bebop's" flawless acoustic background, you should do yourself a favor and give some of Yoko Kanno’s complex, jazz-flavored soundtracks a spin, too. You may just find yourself a surprising new favorite.